An exhibition at the New-York Historical Society showcases photojournalism by six women on the magazine’s front lines
An exhibition at the New-York Historical Society showcases photojournalism by six women on the magazine’s front lines
Marcus Yam is a staff photographer for the Los Angeles Times and the winner of two Pulitzers. Having covered California wildfires extensively, he is deeply familiar with the challenge of documenting tragedy and humanity up close. Yam offers his Brief but
via PBS NewsHour: https://www.pbs.org/newshour/show/pulitzer-winning-photographer-marcus-yam-on-capturing-tragedy-and-humanity
Marcus Yam is a staff photographer for the Los Angeles Times and the winner of two Pulitzers. Having covered California wildfires extensively, he is deeply familiar with the challenge of documenting tragedy and humanity up close. Yam offers his Brief but Spectacular take on the sensitivity and perspective he brings to his work.
Shearer died at 72 on June 22
via Time: https://time.com/5615605/john-shearer-photographer-obituary/
John Shearer captured on camera iconic American moments ranging from John-John’s salute of John F. Kennedy’s casket to Muhammad Ali’s 1971 fight with Joe Frazier. But his favorite project, according to his wife Marianne, was a story about the South Bronx gang known as the Reapers, which ran in LIFE magazine in 1972. Shearer lived with the gang’s leader for weeks, sleeping on his couch and taking pictures at all hours.
The significance of the drowning photograph: America at a tipping point. What it says about Trump. When a photo like this should be seen.
via Reading The Pictures: https://www.readingthepictures.org/2019/06/migrant-father-daughter-drowning/
We cannot know in this moment, but I suspect that this photo of Óscar Alberto Martínez Ramírez and his daughter, Valeria, will stand the test of time. Given the firestorm over immigrant detention and the moral freefall of this administration, I believe Americans will look back at this photo as a tipping point of the Trump presidency. I see the photo as a marker and container for the abrogation of the country’s values in this faux immigration crisis, much like the 1972 Napalm Girl photo memorialized US disillusionment and exhaustion over Vietnam, and hastened America’s final exit from the war.
July 19, 1994. About 3 pm. I’m standing on a canal bank in south central Bakersfield, talking with some members of the Kern County Sheriff’s Department’s Search and Rescue team. T…
via You can’t have my job, but I’ll tell you a story: https://johnhartephoto.wordpress.com/2019/06/23/the-story-of-my-second-arrest/
July 19, 1994. About 3 pm. I’m standing on a canal bank in south central Bakersfield, talking with some members of the Kern County Sheriff’s Department’s Search and Rescue team. They have been called, as have I, to this location for a report of a little boy who has disappeared in the canal’s waters. I don’t know it, but in about 10 minutes, I’m going to be arrested for the second time in my career. And that’s the nature of photojournalism, that’s how quickly a situation can turn on you. One minute you’re talking with deputies and officers you know. The next minute, one you don’t know shows up, decides you don’t belong there, and all hell breaks loose. And that’s what happened on this day.
Because posing for a photo can be interpreted as a form of pride, scenes of the accused often resemble paparazzi shots or perp walks.
via Reading The Pictures: https://www.readingthepictures.org/2019/06/amish-mennonites-sexual-abuse/
As it happens, visual depictions of Amish and conservative Mennonite communities already share some traits with those of Hollywood celebrities. Many of their photographs in the press look like they were taken by paparazzi: shot from discrete angles, from the side or behind, often with long telephoto lenses. Because they hold a conviction that posing for a photograph can be interpreted as a form of pride, or as an affront to the biblical commandment against graven images, conservative Anabaptists usually resist being photographed. Faraway, detached images, then, are what inform much of the public’s visual vocabulary of Plain church communities. Those who see them at all are used to seeing them from a distance.
Veteran Dallas Morning News photojournalist Tom Fox on Monday said he thought he “was gone” when he hid in an alcove from a heavily armed…
via Dallas News: https://www.dallasnews.com/news/dallas/2019/06/17/dmn-photographers-encounter-gunman-going-look-around-corner-going-shoot
Veteran Dallas Morning News photojournalist Tom Fox said he thought he “was gone” when he hid in an alcove from a heavily armed masked man at the downtown federal courts building Monday morning.
The renowned Australian photographer looks back at 10 of his most memorable images and why they had an impact
via the Guardian: https://www.theguardian.com/artanddesign/2019/jun/14/photographer-stephen-dupont-looks-back-a-picture-essay
The renowned Australian photographer chooses 10 of his most memorable images and explains why they had an impact. He is talking at Aperture, the southern hemisphere’s largest photography conference, held from 22 to 23 June in Sydney
A selection from Latin American and Caribbean online platform Foto Féminas, curated by Verónica Sanchis Bencomo
via Medium: https://witness.worldpressphoto.org/foto-f%C3%A9minas-presents-rueda-photos-collective-8fab488c2ea
A selection from Latin American and Caribbean online platform Foto Féminas, curated by Verónica Sanchis Bencomo
[contentcards url=”https://www.adorama.com/alc/meet-a-pro-pulitzer-prize-winning-photojournalist-carol-guzy”]
This week on Photojournalism Now: Friday Round Up – it seems incredibly appropriate in a week when freedom of the press in Australia has come under attack to feature an exhibition of the 2018…
via Photojournalism Now: https://photojournalismnow43738385.wordpress.com/2019/06/07/photojournalism-now-friday-round-up-7-june-2019/
This week on Photojournalism Now: Friday Round Up – it seems incredibly appropriate in a week when freedom of the press in Australia has come under attack to feature an exhibition of the 2018 Walkley award-winning photographs (our premier journalism awards). When the Australian Federal Police raided our national broadcaster, the ABC, and the home of a News Corp journalist, democracy itself was threatened. Let’s remember how important journalism is to our right as citizens to be informed. On the same theme, this week also features Patrick Brown’s exhibition on the plight of the Rohingya, No Place on Earth, showing at the Bronx Documentary Centre in New York.
Thirty years since the Tiananmen Square massacre, Liu Heung Shing, the photojournalist who captured the transformation of China, reflects on his coverage of the protests and his wider body of work
via British Journal of Photography: https://www.bjp-online.com/2019/06/a-life-in-a-sea-of-red/
Thirty years since the Tiananmen Square massacre, Liu Heung Shing, the photojournalist who captured the transformation of China, reflects on his coverage of the protests and his wider body of work
Our mixtape continues with more photos and videos that have appeared in The New York Times Lens column over the past decade.
Our mixtape continues with more photos and videos that have appeared in The New York Times Lens column over the past decade.
A look back at a decade of The New York Times Lens column.
Link: https://www.nytimes.com/2019/05/22/lens/10-years-of-photography-and-lens.html?partner=rss&emc=rss
A look back at a decade of The New York Times Lens column.
These early-career photographers bring distinctive and critical perspectives to the photojournalism and documentary field.
via Artsy: https://www.artsy.net/article/artsy-editorial-20-women-new-faces-photojournalism
Here, we present 20 female photojournalists and documentary photographers who are on the rise. Each of them herald change to the field in their visual style, unique perspective, and focus on underrepresented topics.
Meagan Looram, The NY Times DOP bid “a final nod” to the blog which has boosted many photographers’ careers while also saying the blog would “evolve.”
via PDNPulse: https://pdnpulse.pdnonline.com/2019/05/new-york-times-closes-lens-blog-a-hiatus-or-the-end.html
Lens, the photo blog of The New York Times, will stop publishing at the end of May and go on a “hiatus” for an indefinite period. Meaghan Looram, director of photography at The Times, announced the news today in a note to staff. James Estrin, who has co-edited Lens with David Gonzalez, David Dunlap and Josh Haner, shared the note on social media.
After giving the Sem Presser Lecture, supported byDuPho, during the World Press Photo Festival 2019, Aida Muluneh speaks about the impact…
After giving the Sem Presser Lecture, supported by DuPho, during the World Press Photo Festival 2019, Aida Muluneh speaks about the impact of photography in shaping cultural perceptions
‘I’m going to tell you a story.’
I doubt I am alone in finding this simple sentence amongst the most enticing in the English language…
via Medium: https://witness.worldpressphoto.org/photographic-storytelling-a-poverty-of-theory-2def0ba48031
I doubt I am alone in finding this simple sentence amongst the most enticing in the English language. It is laden with promise, and possibility. Almost anything could happen next. As photographers, we often think and speak of ourselves as storytellers, but our actual understanding of how stories work is woeful compared to other fields. Good storytelling is not something weinnately understand, we aren’t generally taught it, and most of us don’t go out of our way to learn it; at best, we pick up some understanding of it along the way, through trial and error. But even those rare people who actually have a robust working understanding of storytelling rarely seem able to articulate what it is they do when they create visual narratives. They just do it instinctively, as if by gut.
For a long time, Ami Vitale’s dream was to be a war correspondent. After graduating with an International Relations degree from UNC-Chapel Hill, she worked as an Editor at the Associated Press and then moved abroad to pursue journalism, eventually becomin
via PhotoShelter Blog: https://blog.photoshelter.com/2019/04/how-rhinos-changed-the-trajectory-of-ami-vitales-career/
For a long time, Ami Vitale’s dream was to be a war correspondent. After graduating with an International Relations degree from UNC-Chapel Hill, she worked as an Editor at the Associated Press and then moved abroad to pursue journalism, eventually becoming a war correspondent during the War in Kosovo. She was on a clear path forward, with hopes of shining a light on human tragedies through her writing and photography. But one phone call changed everything.
With more cameras than citizens, why do governments still find themselves unable to catch criminals and why do we as a society still struggle to define the “truth” about what really happened in major societal events?
One of the greatest falsehoods about photography and videography that we as a society perpetuate is that cameras capture “truth.”